I care about things too much so that you don’t have to.
Warfare is the culmination of a society’s engineering and social technologies in a way that is hard to find elsewhere. You can see a nation’s priorities emerge, too, because progress doesn’t happen in a straight line. Sometimes it even regresses.
In 1969, a young black man was assassinated by the FBI for the crime of providing breakfast to poor inner-city children. This is that story.
A look into why discrimination against black people and poor people blur together at the seams, and just how badly being low-income affects development.
When I say Britain is insidiously succumbing to internal problems, what do I mean by that, what can I point to as examples, and what can we learn from it? Surprisingly, I don't even mention Brexit.
The amazing thing is that title isn't hyperbolic.
There is a specific danger of pretension, of appearing ‘smarter’ than the ideas in your media actually deliver. Annihilation, I find, is guilty of this. The danger is that when your meaning isn’t clear, when your story isn’t well delivered, the criticism doesn’t get directed at the work; It makes your audience feel like they simply weren’t smart enough to understand it, that it went above their head. I compare it to Full Metal Jacket and children's animation. The animation is actually Zootopia, but I wanted an excuse to use this as the cover image.
If you stood in the office of the man who just paid $60 for an orb of raw water, you could watch a teenager get gunned down for wearing the wrong colours in the wrong neighbourhood.
Sometimes when someone asks you; “So what happens next?” and you have the clearest idea of your beginning and end points, but never the middle, you feel like a failure or like you’re in way over your head.
Here is a short article dedicated entirely to the quick fixes that will drastically improve your writing. This one’s fairly simple, it’s the kind of stuff that’s obvious in hindsight, but hard to figure out or pin down on your own.
How do novelists make a strong character? The ones that feel like they exist outside the story, and outside the author's head? Talking about the rough heuristic I use to plan major and minor characters.
